Celadon talked with North about his writing routine, father-son relationships, and the incredible buzz around this dark, suspenseful thriller.
By Rebecca Wright
The Whisper Man is the hair-raising story of widower Tom Kennedy and his young son, Jake, who move to a quiet English village hoping for a fresh start. But Featherbank has plenty of its own ghosts—20 years ago, a serial killer known as “The Whisper Man” abducted and murdered five young boys. When another boy goes missing and Jake begins to act out in strange ways, Tom fears that he’s losing his grip on reality. Can he uncover the truth before it’s too late?
What was the initial idea that became The Whisper Man?
I wanted to write about fathers and sons. Very specifically, I wanted to write about a widowed father struggling to connect with his grieving son. But I knew that I wanted it to be a crime novel with spooky elements, and I’ve long been a fan of the forums and threads you find online where people list creepy things little kids have come out with. Like saying “that’s where I used to live” when the family is driving past a graveyard, or talking about the man with the long neck in the closet and then the parents discover someone hung themselves in the house years earlier.
When we moved into our new house, there was a day when my son, who was about four at the time, talked about playing with “the boy in the floor.” That stuck with me, and I eventually decided that Jake in the book would have imaginary friends and some of them would be quite frightening. The story developed from there.
Describe the writing process—how long did it take you, and what was your writing routine like as you worked on the book?
The book probably took about a year to write, although I’d been thinking about it and planning it a little before then. My routine was—and is—pretty standard. In terms of time, I take my son to school, then head to the gym for an hour. Depending on the weather, I sit in a park and read for another hour or so, then head to a bar or a café and write until it’s time to pick my son up again. In the beginning, I was writing cautiously, a few hundred words a day, but it certainly accelerated as I went along. Towards the end, I was writing and rewriting tens of thousands of words a day and not sleeping all that much. But that suits me fine. I was always the kind of kid that did all his revisions the night before the exam.
The story offers a very honest portrait of how difficult it can sometimes be for a father to connect with his son. What was it like to write about such a sensitive subject, and how much did you draw from your experience as a father or from people you know?
I don’t think you can help but draw from your own experience. Even if you’re using your imagination, you’re still going to be influenced by everything you’ve seen and read and done. The book’s entirely fictional, in that nothing in it really happened—or at least not the way it does in the story—but it’s inevitable that real life creeps in a little, because I wanted the book to feel honest.
I’m not sure how sensitive that particular subject is. You have two characters who love each other and want to connect but aren’t sure how, and I think that to some degree that’s probably the norm rather than being unusual. Especially when it comes to children and parents. As a parent, you are suddenly handed this incredible responsibility. There’s a sense that your child is an extension of you, and that it’s your job to guide them based on your own knowledge and experience. But of course, as they grow older, they become much more of a person in their own right, and you have to hold yourself back more and more. They’re not you. In the book, Tom has to fight against his best intentions for Jake and, as he puts it, “just let him be him.” I think that’s pretty key, but also easier said than done sometimes.
I was struck by a scene when Jake accidentally reads something his father is writing and is disturbed by it. Have you ever been in this situation in real life? Is it something you think about, as a novelist and as a father?
No, I’m incredibly protective of my writing until it’s done. I write in public places, but I always want my back to a wall, as I don’t want someone looking over my shoulder and reading part of some terrible first draft. It’s important for me to keep it to myself until it’s as good as possible. So, my son is never going to see anything I’ve been writing on a screen; I’m way too careful for that.
He’s a voracious reader, though, so maybe he’ll read one of my books when he’s older. That’s a bridge I’ll have to cross when I come to it. He’s only eight right now, so it’s a few years until I need to worry about it!
Rights have now sold in over a dozen territories and counting, and film rights have been optioned by the directors behind “Avengers: Infinity War.” What has it been like to see this reaction to The Whisper Man?
It’s been amazing. As I was writing the book, I just wanted to finish it—to get it done—and I had no real expectations about rights or film adaptations. I think if you imagine that kind of thing while you’re writing, you’re setting yourself up for massive disappointment down the line. Better to have much lower expectations and end up being surprised! And I’ve been not just surprised, but slightly humbled. For various reasons, it’s a personal book for me, and I’m enormously pleased that people have connected with it the way they have.
Are you at work on another book?
I’m writing something at the moment, but I’m superstitious about talking about work in progress. For one thing, a part of me feels that if you talk about a story too much, you rob yourself of the need to write it down; and for another, it will probably change completely by the time I’m done with it. At the moment, it’s another spooky psychological thriller, this time about a violent murder and an impossible disappearance from years earlier. But I’ll have to finish writing it to find out for sure.
Read more: Book excerpt from The Whisper Man